The ancient Greek playwright Euripides created the tragedy “Medea,” which is based on the myth of Jason and Medea and, in particular, Medea’s retaliation against Jason for betraying her with another woman. When it was presented at the Dionysia festival in 431 BCE among the lost dramas “Philoctetes,” “Dictys,” and “Theristai,” which are frequently regarded as Euripides’ best and most well-known work and among the greatest plays of the Western canon, it only took home third place.

The Greek hero Jason exiled his wife Medea to Corinth following the Golden Fleece exploits. He eventually divorced her, nevertheless, in order to marry Glauce, the daughter of King Creon of Corinth, in order to further his political aspirations. Medea is shown in the play’s opening scene lamenting the loss of her husband’s affection. She may harm herself or her children, which worries her elderly nurse and the Chorus of Corinthian women (who are largely sympathetic to her suffering).

King Creon banishes Medea and orders her and her children to leave Corinth right away out of concern for what she might do. When Medea pleads for mercy, she is given a one-day reprieve, which is all the time she needs to exact her retribution. As Jason comes, he makes an effort to defend himself. Although Medea comes from Colchis in the Caucusus and is regarded as a barbaric witch by the Greeks, he states that he does not love Glauce and cannot refuse the chance to wed a wealthy and royal princess. He also asserts that he hopes to one day merge the two families and retain Medea as his mistress. He is not believed by Medea or the Corinthian Chorus of women. She reminds him that she killed her own brother to ensure that she could never go back to her own people after leaving them for him. She also points out that she killed the dragon that was guarding the Golden Fleece and saved him, but he is unimpressed, only offers to appease her with gifts. Medea subtly suggests that he might come to regret his choice and reveals that he has secret plans to assassinate both Glauce and Creon.

Aegeus, the Athens’ childless king, pays Medea a visit after that and requests the famed sorceresses aid his wife in getting pregnant. Since Aegeus is unaware of Medea’s plans for retaliation, he agrees to provide Medea with shelter if she can make it to Athens in exchange for his protection. The family relic and gift from the sun god Helios that Medea feels the conceited Glauce will find impossible to resist wearing will be poisoned, she warns the Chorus. She decides that the only way her tortured mind can come up with to harm Jason is to kill her own children as well—not because they have done anything wrong. She makes another call to Jason, pretended to be sorry to him, and then sent the poisoned robe and crown to Glauce as a present, with her kids delivering it.

A messenger tells Medea about the incredible success of her scheme as she is still debating what to do. The poisoned robe has killed Glauce, and Creon has also died from the poison while trying to save her, both of them dying in agonising anguish. In a heartbreaking and terrifying sequence, she questions whether she can bring herself to kill her own children as well, while still speaking sweetly to them. After a brief pause, she explains that she is doing it to protect them from Jason and Creon’s family’s retaliation. The children’s screams may be heard as the chorus of women regret their choice. The Chorus mulls getting involved but ultimately decides against it.

When Jason learns that Glauce and Creon have been slaughtered, he rushes to the location to punish Medea but finds that his own children have also been murdered. Jason’s suffering is mocked and gloated over by Medea as she rides in the chariot of Artemis pulling the bodies of her children. Before fleeing with the bodies of her children towards Athens, she predicts a dreadful outcome for Jason as well. The Chorus laments that such sad and unanticipated horrors should be the outcome of the gods’ will as the play comes to a close.